Piano Method Chart

August 28, 2012

Note: The list below is in no way complete. It is for quick reference only. I shall add more information later.


[table caption=”SCHOOL OF FINGER TECHNIC“] Writer[attr style=”width:20px”], Title, Date, Content [attr colspan=”2″],[attr colspan=”2″] CPE Bach,*Essay on the True Art of Playing Keyboard Instruments (“Ein Versuch über die wahre Art das Clavier zu Spielen”), 1753, [attr colspan=”2″] [attr colspan=”2″][attr colspan=”2″] Marpurg, Die Kunst das Clavier zu spielen (1750), Anleitung zum Klavierspielen (1765), [attr colspan=”2″] Georg Simon Lohlein, Clavier-Schule, 1765, [attr colspan=”2″] [attr colspan=”2″][attr colspan=”2″] Petri, Introduction to Practical Music, [attr colspan=”2″][attr colspan=”2″][attr colspan=”2″][attr colspan=”2″] Georg Frederich Wolf, Unterricht im Klavierspielen, 1807, [attr colspan=”2″] [attr colspan=”2″][attr colspan=”2″] *Turk (1756-1813), Klavierschule, 1789,[attr colspan=”2″][attr colspan=”2″][attr colspan=”2″] Louis Adam (1758-1848), Methode nouvelle pour le piano, 1798, Favor use of pedal[attr colspan=”2″][attr colspan=”2″] *Clementi (1752-1832), Introduction to the Art of Playing the Pianoforte, 1801, Gradus ad Parnassum (prinicipal teaching aid, 100 studies for piano); started the trend of finger-gymnastics, (Clementi -Hummel-to the peak by Czerny)
*Hummel (1778-1837), The piano school of Hummel: Logical development of technic, 1828, Extension of Marpurg and Turk’s treatise, like Viennese action, [attr colspan=”2″] *Czerny (1791-1857), Complete Theoretical and Practical Pianoforte School, 1837, “Letters to a Young Lady on the Art of Playing the Pianoforte”, specific rules
*Hanon (1819–1900), The Virtuoso Pianist in 60 Exercises (“Le Piano virtuose”), 1873, http://www.hanon-online.com/, [attr colspan=”2″], [attr colspan=”2″] [/table]




[table caption=”SCHOOL OF ARM AND WEIGHT“] Writer[attr style=”width:20px”], Title[attr colspan=”2″], Date, Content, [attr colspan=”2″] *Kalkbrenner (1788-1849),*Instructions to learn to play the piano with the help of the hand guide, (“Methode pour apprendre le pianoforte à l’aide du gui de mains”), 1831, use of wrist and arm; favor pedal use, pupil of Louis Adam
Louis Plaidy (1810-1874), Technical Studies for the Pianoforte, [attr colspan=”2″], Staccato touch with wrist, [attr colspan=”2″], [attr colspan=”2″] Louis Kohler (1820-1866), Practical Method for the Piano Staccato, [attr colspan=”2″], use forearm move from elbow, [attr colspan=”2″],[attr colspan=”2″] Theodore Kullak (1818-1882), Three books in octave studies, [attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″] C.J.Haake, Modern Piano Technic- How New Is It?, [attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″] *Theodor Leschetizky (1830-1915), The Leschetizky Method, [attr colspan=”2″], Leave no methods- teaching theories assembled by students-ideal piano hand, Student of Czerny, his students: Paderewski- Malwine- Bree Von Melasfeld-Hughes
*Ludwig Deppe (1828-1890), the father of weight technique, [attr colspan=”2″][attr colspan=”2″][attr colspan=”2″][attr colspan=”2″] Elizabeth Caland, “Artistic Piano Playing as Taught by Ludwig Deppe”, [attr colspan=”2″], [attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″] C. Ehrenfechter, “Technical Study in the Art of Pianoforte Playing”, [attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″] Amy Fay, “Music Study in Germany”,[attr colspan=”2″], Coordination of arm action (Ch.VII p.97), tonal beauty in playing (108),[attr colspan=”2″] [/table]





[table caption=”SCHOOL OF WEIGHT RELAXATION”] Writer[attr style=”width:20px”], Title, Date, Content,[attr colspan=”2″] Matthay, The Act of Touch In All Its Diversity, 1903, 4 books; the other 3:
The Forearm Rotation Principle in Pianoforte Playing (1912), Relaxation Studies in the Muscular Discrimination Required for Touch Agility and Expression in Pianoforte Playing (1908), The Visible and Invisible in Pianoforte Playing (1925)
Breithaupt, Natural Piano Technic, 1904, [attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″] Fielden[attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″] Otto Ortmann, The Physiological Mechanics of Piano Technique, [attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″] Abby Whiteside, “Indispensables of Piano Playing”, 1955,[attr colspan=”2″],[attr colspan=”2″],[attr colspan=”2″] [/table]





[table caption=”SECOND HALF OF 20TH CENTURY“] Writer[attr style=”width:20px”], Title, Date, Content [attr colspan=”2″],[attr colspan=”2″] Dorothy Taubman M.D., Taubman Institute of Piano Studies, [attr colspan=”2″], problem of musical injuires, treatment of tendinitis and carpal tunnel syndrome,[attr colspan=”2″] Suzuki Suzuki, Piano Method, mid-1900s, [attr colspan=”2″][attr colspan=”2″][attr colspan=”2″] [/table]





Teresa Wong

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